#i love a compelling ending because this one>>>

[captain-ashby]

All of this and more. I loved this game a lot, it had many strengths, and for me it stands next to the others in the series, if an inch or two lower. However this IS the heart of most of the problems with this game: the writers refused to allow conflict except with the antaam, the venatori, and the elven gods.

All the previous dragon age and mass effect games revolved around the fact that even the world's/galaxy's saviors are people who had one goal: save the world/galaxy, no matter how broken it is and how much you are hated. The HoF fought simultaneously against and for a nation that believed wholeheartedly that they were traitors. Hawke and his family/companions are made up of people that are considered the scum of the world. The Inquistor is wrongly persecuted as a heretic and has to fight against overwhelming religious and political pushback. Shephard CONSTANTLY is treated as little more than nuisance until the galaxy ending threat has already started, despite being one of the most decorated soldiers in the galaxy.

On top of this, their companions are a constant source of conflict. Tali/Legion, Jack/Miranda, Alistair/Morrigain, the entire da2 team, Solas/Sera, Dorian/Bull. Almost all the companions have centuries old prejudice baked into them, and more often than not they are willing to betray you and each other for their own goals. Where all of these games shine is leaning into that, working through the conflicts, and resolving them in ways that are satisfying.

Rook and his team face almost no pushback. Lucanis is a murderer and an abomination. Taash is Qunari, who are by and large considered zealous and violent conquerors. Davrin and Bellara have just had their gods almost destroy the world, and elves are almost always second-class citizens. Necromancy is not just accepted by the rest of the Thedas as just another school of magic.

In fact, mages in general no longer face any of the persecution they used to, despite the fact that Elgar'Nan, Ghilan'Nain and Solas are the most powerful mages to ever live and are responsible for almost all the major ills of the world. All of this isn't because the Veilguard has proven to the world that their prejudices are wrong, it is just... not addressed. Ignored. Rook is respected by everyone bar the comical villains (even then The Butcher respects you with no effort on the players part), with the exception of the people of the city Rook didn't personally go fight a high dragon for because they were busy fighting another one elsewhere.

And there's the crux. Theres no proving that you are the one in the right, or that there's a bigger evil to focus on. No political maneuvering. Theres not even really any conflict resolved outside of killing Venatori, Antaam, and darkspawn, all of whom are outcasts from any real society and as such have no real ramifications to being destroyed. The other BioWare heroes succeeded despite the world they were saving not wanting them, Rook succeeds because everyone puts their entire faith into one person.

Again, I enjoyed this game very much. But it forgets that "fighting against impossible odds" doesnt just mean mortal against deity, but also nation against nation, race against race, and ally against ally. Everyone in Veilguard comes across as a good person in need of a little therapy, when bioware as a whole thrives on stories about inherently flawed and tragic characters rallying together to do what MUST be done to save an ultimately ungrateful people.

TLDR: One line from the Inquisitor in Trespasser perfectly sums up the inherent frustration that permeates all other bioware games to create compelling stories, which I believe is the missing thread from Veilguard: "Dammit! We save Ferelden, and they're angry. We save Orlais, and they're angry. We close the Breach twice, and my own hand wants to kill me. Could one thing in this fucking world just stay fixed?!"

Why Fenris could Never Cameo in Dragon Age: The Veilguard

In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.

About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.

How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.

So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.

But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.

We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.

None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.

The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.

Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.

Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.

Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.

And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.

Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.

This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.

Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.

And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.

I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.

[transyashiro]

Hi, genuine question, why transandrophobia is not real? I just thought it was a word to describe the transphobia specifically targeted to transmascs, but if that is not the case id like to be corrected. Also your art is so beautiful I love it!

hey anon. firstly, thank you, i'm glad you like my art. secondly, i am at the end of the day just a guy who draws sometimes. this is a question which was already answered many times by transfeminists on here, and ideally you'd want to get the perspectives of tma people rather than mine. and just in general, keep up with discussions of transmisogyny and listen to transfems, yeah?

all that said, since you are asking me personally... to put it as simply as i can: transandrophobia, or transmisandry, is not real because misandry is not real. that should be the end of the discussion, really. there is no need for a special word to describe transphobia targeted at transmascs, because transphobia and/or other forms of oppression (real ones, Not misandry) depending on any particular situation already cover everything. why is there a desire for a special word to begin with, anyway? girls got one, we want one too? c'mon

but also like, all that aside, regardless of how real or not real transandrophobia is, it is a dog whistle. if someone associates with the transandrophobia crowd, they are most likely a transmisogynist. that should be enough of a reason to steer away from those guys and not trust them. sure, some posts by them might seem compelling or validating at a glance, i've definitely seen younger trans guys who don't know any better start looking in that direction because they feel like they are finally being given a tool to discuss their experiences. i assume that's partially why your question is framed like that, too, because a simple "we just want a word to discuss our oppression" is a lot more convincing than "we hate trans women and want to make them out to be the true oppressors" or "we're just men rights activists but with a trans flag, which also means that we are incapable of oppressing trans women because of our inherent connection to womanhood. don't worry about what that logic implies about our views of trans women" or... you get the picture. it's transmisogyny through and through, you don't even need to dig much

again, i hope you'll look more into what trans women have to say on this, it would do more good than my short clumsy explanation, but hopefully it at least gives you some vague idea

[jacketpotatoo]

Initial Thoughts on Arcane S2 (spoilers)

I think season 1 was far stronger because it told a much more focused story and centred its themes on the relationships of the characters. What I love about s1 is that you could pick two characters from anywhere in the show, and they'd be foils of some kind, or parallel each other, etc. We don't get enough time with characters talking to each other for that in s2. In s1, so much of the insight we gain from characters is through their conversations with each other - this is effective because they're there and reacting to each other, so you get the deeping of their relationships alongside development of the plot. I think this is why people resonate so strongly with Ep7 - it's so contained. The expanded cast of characters and expanded plotlines mean that at times, it feels like they're checking off plot beats rather than letting the story develop as its characters do. But this is also why I find the jayvik storyline to be the most compelling part of s2 - it's this beautiful medley of greater themes and personal ambition wrapped around inextricably in the other. I found the show's thesis on healing and destruction and the cycles of human violence compelling, and I liked that magic was a sort of tech/industrialisation stand in. Viktor had some GREAT lines that I need to spend some more time unpacking. Cosmic yaoi soulmatism is beautiful. Also speaking of episode 7, I also thought Ekko's arc was incredible and the best and he's the best and I love him.

That being said, I definitely think the ball was dropped on the class commentary. The writers simply took on too much - just trying to explore the class tensions between Zaun and Piltover is enough to take up the entire season. And it's so deeply integral to the politics of the season, and to the balance of the relationships of various characters, that it's just a bit. sigh. Especially when nearly all the new characters introduced get killed off. And we don't get much focus at all on Sevika, who's one of the only main characters involved in revolution. I love Isha, but she felt so much to me like a plot device to me that i find it hard to reconcile. And the lack of class-commentary sours their portrayal of Caitvi alot for me. I personally think Cait's revenge to reconciliation arc was handled fine, and that a verbal apology wouldn't mean as much to vi as the action of freeing her sister did, but the last line of the show is hard for me. "I'm the dirt under your fingernails." I get that it can be interpreted multiple ways (see: non-problematically), but that had to have crossed the writers' minds. Is it intentional then? A reminder of Vi's insecurities, simply glossed over by Caitlyn? Does it just draw attention to the inequality of their relationship, indicate that there's further work to be done between them and individually? Honestly I feel the same way about where Zaun/Piltover is left off politically. This sort of ambivalent state that isn't endorsed (the sneers the council throws at Sevika are intentional), but is unfortunately realistic. I don't think the ending is a happy one at all. Ambivalent really is the word I'd use to describe it.

I also figure that I need to rewatch the show in full, including season 1. Thoughts might change! I'm still working things out in the brain. I do still think Arcane is a fucking beast and a triumph, and I will forever be inspired by it. I love these characters. every shipper won something and I think that's beautiful. Fortiche's animation is revolutionary.

[highfantasy-soul]

omg this tension with Evan and his character arc this season is sooo juicy!!!!

spoilers for episode 9 of mismag season 2

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHH

At some point, the tension is going to break and I really really hope the entire pilot program sits Evan on his ass and, since he's so concerned about people being plain with their speech, gives it to him like it is. How he's being so SHIT to his friends and at every opportunity spitting in their faces and calling them liars.

My jaw was on the GROUND when they went back to piss-berg and he accused the Quoli (spelling - who knows spelling??) of being purposefully obtuse about why he gave Evan the book and what his sad expression meant. Evan took it as "Evan's life will permanently be so sad and pathetic" and when confronted, the Quoli explained that wasn't the reason, Evan wanted answers and the book has what Evan had wanted when last he came to the island - but the whole reason the Quoli looked sad was inappropriate to tell Evan.

Like, the Quoli straight up said 'Evan, your emotional healing and self-realization has got to come from you - you can't get that shit handed to you by an outside force' and Evan threw a little tantrum.

What really made my jaw drop was when in response to Evan claiming the Quoli thought his life was all super sad and pathetic, the Quoli LOOKED TO THE OTHERS to ask if they thought Evan's depiction of his life was accurate. The others staunchly and firmly said 'no, we don't see Evan's life as just a sad, pathetic never ending cycle of depression - that's not who he is' - the Quoli looked to Evan and asked 'Do you really need ME to explain to you what your friends already know? (and just told you) or do you trust that with more time, you'll understand it for yourself?' (again, telling him - yo, you can't fast track emotional healing, but you got a whole ass support system here for you. To quote Bo Burnham: the love has got to come from YOU)

And EVAN'S RESPONSE WAS: "I don't like you. There could be clarity here and there's not. I'm not sure if that's your fault or just the nature of the world but either way, I don't have to be in a good mood about the imposition of mystery on someone who's just looking for answers."

My jaw DROPPED

Evan just heard his friends give clear and direct answers to the question he was asking and he TOLD THEM TO SHUT THE FUCK UP - THEIR THOUGHTS MEAN NOTHING, THEY DON'T KNOW SHIT AND HE WANTS A GOAT TO TELL HIM WHAT TO FEEL!!!!!!

He's claiming there's mystery and a lack of clarity but EVAN IS THE ONLY ONE OBSCURING HIS VISION!!!!

You can bring a horse to water but you for sure can't make him listen to his friends when they tell him point blank the answer to his question!

If I was Jammer, I wouldn't have just asked Evan if he was ready to go, I would have grabbed that motherfucker by the collar and drug his ass out of there and he'd be getting the cold shoulder for A WHILE

I really hope that's where his character arc is going because I get heated every time Evan insists his friends are shit and liars and 'no, no, they don't understand, I'm the most specialist boy in the whole wide world and my sadness is everything that defines and and I'm going to pretend to hate it, but every time my friends counter it, I'll ignore them and tell them they're stupid liars and retreat back into my comfortable sad boi aura that makes me feel special.'

Like, at some point, something's gotta break, right? I know K has the most to lay out for Evan in that department, but I kinda hope Jammer is right there with them because I don't think Evan will listen to K at all - he'll dismiss her as just a jilted lover who's opinion is the least among the group.

I know it's an improv show and there's no guarantee everything will pay off, but I think it'll be really good if they're able to fit it in.

---

Obviously, this isn't me dogging on Brennan and his choices while playing the game - it's a very VERY compelling and realistic look at the difficult healing journey that people who have gone through (or gone through similar) what Evan has might take.

What I will say though, on a serious note, is that if you find yourself in a relationship with someone who behaves the way Evan does, take care of yourself. Just because they've suffered unimaginable trauma doesn't mean it's ok for them to abuse you. Even if that abuse stems from their trauma, you do not have to accept being treated like that.

You cannot help someone who doesn't want to be helped. You cannot force them to drink the tonic you offer them, accept the help you give, or believe what reassurances you give them.

You cannot tell them how to view themselves - even if you think it's helping them see themselves how you believe they truly are. The belief HAS to come from them, you can't do their emotional labor for them (though many will try to make you and then have you blame yourself when it doesn't work).

Of course leave room for love and meeting people where they are, but trauma does not excuse abuse - you are not a bad person for stepping away from someone who is hurting you even if they're hurting, too.

[mrinafria]

Love Game is Eastern Fantasy works so well (for me at least) is because while there are several other cdrama fantasies addressing similar themes with transmigration tropes, the writing here is actually pretty solid. Like, there is proper logical progression of things, and I can tell they put some thought behind the plot and didn't just fill pages, solely relying on the leads' acting and their chemistry to carry subpar writing/execution *cough* ofl *cough*

Things such as Miaomiao's backstory with her dad, foreshadowing scenes that don't feel casually slapped together, absence of irrelevant romantic scenes just to fill screentime (which is why I really appreciate whatever scenes we get of Miaomiao and Ziqi), giving each main character a proper arc instead of having them behave like NPCs, being consistent with the rules of the gaming world we're introduced to, not lingering on silly misunderstandings, actually resolving smaller issues and conflicts before moving on to bigger ones, not forgetting about an open plot point after a while, effectively keeping up the suspense and compelling the audience to second-guess and theorize what's to happen (very tricky to pull off imo when you're airing episodes daily), showing gradual development of romance between the two couples, utilizing talented actors who seem to have a solid understanding of the motivations, nuances and overall pulse of the characters they play. There are many other things too, like the incredible acting skills Ding Yuxi and Yu Shuxin bring along with the natural chemistry they have off-screen that translates so well on screen, as well as the fact that they make Ziqi and Miaomiao uniquely theirs, making it a much more enjoyable ride. I learned recently that there were several scriptwriters for this, with the main scriptwriter being the same person who wrote for LBFAD (correct me if I'm wrong though)--that might explain why I like this writing so much, even though it deviates from the og web novel.

Even the final episodes (where most cdrama fantasies often mess up, especially with isekai/transmigration tropes) go above and beyond tying up ALL the loose ends and connecting every clue every foreshadowing every disjointed bits of information that we see throughout the show, ultimately creating this beautiful beautiful piece of art that is LGIEF.

And that final statement from Fu Zhou? Ugh I love how they conveyed that idea.

Hands down my favorite cdrama after LBFAD.

[faelapis]

first three eps of the season were good. after that, arcane season two just completely fell apart.

it ignored all themes of oppression, police violence, cait's slip into fascism, the zaunite revolution, etc. all in its need to introduce a bunch of pointless league lore and create 762 new storylines, despite only having one season to tell them. and so it told zero of them well.

idgaf about the black rose. idgaf about it suddenly being about stopping the robot uprising. idgaf about warwick (vander is effectively already dead. the only purpose of this false hope was to bring him in line with league canon). ambessa started off as an interesting character, but as soon as the caitlyn storyline fell apart, so did any motivation of hers that actually made sense.

jinx became a tragically pointless character who ended up in the exact same self hatred-spiral she started the season in. except instead of being brought on by silco's death, now it's isha's death. sevika gets a pointless minority seat on the council, but it's only one seat, with no assurances that anything will actually change for zaun. ekko gets no character arc whatsoever. he's just a generic good guy who does good guy stuff. the viktor/jayce story had a sweet ending, but it took up far too much screentime in a show whose main characters are supposed to be vi and jinx. vi never gets to have a moment where she either accepts or learns from her failures. she ends up a surprisingly passive role the entire season, which could serve an interesting internal character arc, but that never happens. her only "arc" is to be comforted by her cop gf.

and really that is the original sin here. because the season's first three episodes promised so much about cait. it promised not just her slip into authoritarianism, but to explore why and what impact it has on her relationship with vi. who vi wants to be, in relation to this person and this system.

this image is the embodiment of what i wanted this season to be. it's a conscious reference to macbeth, the shakespearian tragedy in which the main character's obsession with becoming king and remaining in control results in war and bloodshed. if told carefully, it could be brilliant commentary on cait, on fascism, on social hierarchies, personal trauma and the nature of power.

we get none of that. instead, her fascism arc is lazily resolved by just undoing it as soon as she sees vi again - and no, this does not count as a "love conquers all" resolution. i'm not opposed to that ending! but cait's heel-turn came out of nowhere!! it felt like a cowardly move on the writers part, because they didn't want to make viewers uncomfortable with the main ship.

vi became a complete mush of a character. she just reacts to whatever others (mainly cait) does. she has no motivations of her own. and like i already said, this does not fuel a compelling arc about her depression or trauma. the question of whether she should believe in others never goes anywhere. except of course, to be comforted by cait. so vi, in her own right, does not exist for any emotional purpose this season. she just... is sad and looks good. she puts on her big punching gloves and does a few show fights. download league of legends. unlock the depressed punk vi dlc costume today.

[raina-at]

Fic writer meme

Thank you so much for tagging me @discordantwords.

How many works do you have on ao3? 34. 6 SPN RPF (J2), 1 Supernatural (Wincest - if you have opinions about this, I don't want to hear them), and 27 for BBC Sherlock. I feel compelled to add though that my fandom history predates AO3 by about ten years, and that most of the fics I wrote during that time aren't on AO3. All of my TPM fics, all of my HP fics and most of my Supernatural fics are in fact not on Ao3. So I actually have no idea how many fics I've written since I started in 2001.

What’s your total word count? 585,261 words.

What are your top 5 fics by kudos? Don't Read the Last Page, Bakers with Benefits, Running Obliquely, Guess Who's Coming to Christmas Dinner and All I Want for Christmas (is Proof) (you guys really like my Christmas fics :-))

Do you respond to comments? Why/why not?

Yes, I love comments, and I love getting into dialogue with readers about their interpretation of the characters and canon! I try to answer everyone, if I ever forget to answer, I'm really sorry!

What's the fic you've written with the angstiest ending?

Um... None?

Of the ones on AO3 that is. I once wrote a Supernatural fic where Sam was a ghost and Dean had to exorcise him and it was heavily implied that Dean would commit suicide as soon as that was done, so that was pretty dark. And I wrote 2 Supernatural post Apocalypse fics that end well but the setting is very bleak.

But all my new stuff, especially all my Johnlock stuff, has happy endings.

What's the fic you've written with the happiest ending?

Probably Bakers with Benefits. Sherlock gets everything he wants, including John, and they basically live happily ever after. But like I said, all my fics end happily.

Do you write crossovers?

I haven't yet, but that doesn't mean I won't, one of these days. I wrote a Bake Off Sherlock AU, but crossovers means having characters from both canons, and I re-cast both hosts and jurors, so it probably doesn't count.

Have you ever received hate on a fic?

No, thankfully not. I've received a few odd comments here and there, but I never had the feeling that they were mailcious, just tone deaf.

Do you write smut? If so, what kind?

Yes, I do. Mostly of the vanilla kind, I'm not super kinky, and I'm not much for writing PWPs these days, but I like a good, spicy sex scene that shows you something about the characters and their dynamic. And sometimes it's just hawt. Which is also fine.

Have you ever had a fic stolen?

I heard a story once that someone stole one of my J2 fics and turned into a Het Degrassi fic, but I could never verify this claim because the fic got deleted. Other than that, not that I know of.

Have you ever had a fic translated?

Yes, several, and it's a great honour.

Have you ever co-written a fic before?

Yes, mostly with my wife @nuttersinc, we co-wrote an entire fic series and some other, smaller fics, and we once at a Boondock Saints RPG (I know. I know.) I haven't co-written with anyone in ages, and I'm not sure how good I would be at it these days, since I'm a pantser and don't have very much time, so I think I'd drive anyone with a regular writing schedule bananas. But I'm open to try.

What's your all-time favourite ship?

All time.... omg... Ok, so mirroring @discordantwords here, I adore Mulder and Scully still. They're the OG ship for me, they were the first pairing I read fanfic for. They'e such a good example of The Dynamic (repressed bisexual disguising as the "normal" one when they're just a more adapted sort of crazy and socially awkward genius crazy himbo the normal one has to save all the time). Scully especially owns my heart, I love her, and Gillian Anderson is, like. So. Hot.

But Sherlock and John... they're just... so GOOD. You can do anything with them. You can put them in any scenario, any time, any space, and they're just so magnetically drawn to each other, they complement each other so well and they're so bad and so good for each other... I love them. So much.

What's a WIP that you want to finish but don't think you ever will?

Oh, quite a few. The one where John is Sherlock's neighbour and they have this 'we're just friends' dynamic and everyone thinks they should just get married, including Rosie, who's a sassy teen in this fic. It's got a lot of potential but I don't think I'll ever finish it.

What are your writing strengths?

I think I'm good at dialogue and character dynamics. I think I'm also good at building character arcs, and I think I'm good at setting scenes and making oblivious idiots fall in love.

What are your writing weaknesses?

I'm not the greates plot writer in the world. It takes me much more effort than writing a fic where, say, Sherlock and John have breakfast and talk, to pick a random example. I tend to lose the thread of the plot because I start writing the vibe before I have everything figured out, so I tend to get 'stranded' at some point. That's why my WIP folder looks the way it does.

What are your thoughts on writing dialogue in other languages in a fic?

I don't attempt it if I don't have a native speaker to look it over and tell me if it's correct. (if the other language isn't German, which is my native language).

What was the first fandom you wrote for?

Roswell (the one from the early 2000s, not Roswell New Mexico. Yes, I'm a Fandom Old.)

What's a fandom/ship you haven't written for yet but want to?

None, honestly. If I wanted to write for a fandom or ship, I would.

What's your favourite fic you've written?

Oh my god I'm not sure I can answer that. I really like all of my fics, and I love most of them still. Some were such fun to write, some harder but the hardship made them more beloved.

I'll probably have to go for Bakers with Benefits, though, because I still like to re-visit that 'verse and I just LOVE these two.

That was fun! I'm tagging anyone who wants to do this, but especially @jrow @meetinginsamarra @lisbeth-kk and @thetimemoves

[unionizedwizard]

oc love onterest. double dipping. v'rhym and raubahn, irma and lyna

ok this is funny because v'rhym and raubahn have actually had something, though i don't know exactly how or when (it was just a (couple?) of one-night stands). i'm inclined to think it started after the rescue mission in HW (the vulnerability of it all. emotional support that ended up being something different) and kept going sporadically during SB (stress of a military campaign you know how it is). a lot of it is not my business though (as is often the case with v'rhym) so i haven't actually figured it all out #privacy rights. but raubahn is DEFINITELY his type, a Lot, and also not inclined to start any kind of stable romantic relationship, so the sex is good and raubahn gets to gush about nanamo (whom v'rhym does like a lot) which is as fair an exchange as it gets in both their books! i think raubahn is the type to need a lot of strong liquor to get vulnerable, and more importantly, someone he can trust/rely on (and whose combat skills match his own) so for that v'rhym is the perfect candidate. the grand melee was foreplay actually. an almost strangely balanced and nontoxic relationship

lyna/irma........... GOD this one is so terrible. and hilarious. imagine having your crush of 100 years date your GRANDDAUGHTER. how do you recover from that. this is the worst most advanced version of the friendzone holy shit. possibly the funniest and worst thing about it is that i could actually sort of see it? they have very very similar personalities, which also. hey g'raha what's up with that actually? (we're not going to think about it.) lots of mutual respect and admiration here. irma deeply respects her and loves that lyna still bosses her around and treats her just like another soldier despite the whole warrior of darkness spiel ("you may be able to eat lightwardens for breakfast but that doesn't mean you'll be spared amaro dung shoveling duty") <- i could envision either psychosexual yuri or straight-up kink shit here honestly. or maybe both. (and they were both tops (oh my god they were both tops)). obviously the compelling part of it is that they're both incredibly repressed and duty-oriented soldiers first and foremost so it would need a LOT of narrative heavy-lifting to get there in the first place. irma is not that fucked up that she'd go for this as part of her Wage 5D Chess Psychological Warfare On The Lying Wizard agenda (hit 'em where it hurts), or rather it's not her flavor of fucked up, so this is (luckily) not on the table. honestly i'll have to think more about it because it's hilarious if extremely cursed

[themousefromfantasyland]

I absolutely love Elphaba, but to me Glinda is the most interesting and compelling character of Wicked.

At first glance this feels weird. She's not compelling. She's bubbly, ditzy, rich, privileged, and by the end she gets everything she ever wanted. Oz loves her and after the Wizard's departure and Madam Morrible's arrest, she's the de facto ruler of the land.

So how can she be more compelling than Elphaba?

Guilt.

Glinda will never truly sleep well at night for as long as she lives. She will never be at peace with herself and she will never forgive herself.

There will be always a part of her mind that will calculate how much complicit she was in the schemes of the Wizard and Madam Morrible. How much she was just another victim of the system and how much she was a willing participant of it.

Thank Goodness is one of my favorite numbers because it shows Glinda slowly being crushed by the guilt of what she did, and how the seeds of shame and regret are slowly growing in her mind, while she fights against them to keep her self-image as the "good witch".

By the end of the show she got everything that she ever wanted, but surprise surprise, it's not worth anymore. She's completely alone. All her friends are gone, specially HER. Glinda thinks Elphaba's dead, and for as long as she lives she will blame herself for it.

[thatswhatsushesaid]

psa that the day there are no jgy stans left on tumblr dot com is the day i am dead

but rest assured i'll go to my grave exactly as i lived: obnoxiously proclaiming to everyone within earshot how great lianfang-zun is. narratively, metaphorically, spiritually. sexually, too, like why limit myself. i like to keep my options open

[yo-yo-yoshiko]

Just finished Return of Ultraman!! (i got really attached...)

[thorinlandscaping]

waaaaa they took away my male lead in the Only Straights Show from 2-3 seasons from now and made him a girl for some sort of WOKE AGENDA they're changing my badly written misogynist book series woe is me we need more straight rep!!! this is because i like their story not for any other reason!!! i'm bi as well!!! more straight romance!!!! no nonconformity!!!! the books!!!!!!!

[steakout-05]

i might get some hate for this depending on where this post goes but i think lesboys are so valid and the discourse about them is so ridiculous. like you guys shouldn't have to deal with all that and it frustrates me that people throw hissy fits over an identity that literally does not affect them at all.

"but men cant be lesbians-" wrong. butch lesbians and trans men have a really closely connected history with each other that practically intersects and you should really do some research on that before you make blanket statements, not to mention that gender and sexuality is weird and wobbly and fluid and a very personal experience. it means a different thing to each person. being a man can be something completely different and saying stuff like this ignores people like demiboys, demigirls, genderfluid and genderflux people etc. these people will really preach "demolish the gender binary!! love is love!!" until someone's relationship with gender and sexuality is a little too freaky for them to handle and be challenged by lmaoo

"ohhh but what about the cishet men who say they're lesbians to prey on women-" YEAH WHAT ABOUT THEM????? THIS AIN'T ABOUT THEM BRO!!!!! this argument also REEKS of terfy "trans women are just predatory men!!!111!!1" rhetoric and it grosses me out. yeah some men are gross and do try to pull this but that does not negate someone's entire identity completely just because of a few bad actors, you know that right? actual black and white behaviour.

queer discourse is silly and i don't know why it's a thing. just let people exist. it isn't that hard. we have worse things to worry about than whether someone calls themselves a lesboy or not. i think we need to unplug our ears and yank our heads out of the sand and remember that the queer community is what it is because of our unique and amazing diversity. arguing over labels like school children isn't gonna help that. damn.

[least-carpet]

Hiiii, if it's not too much, can you describe the biggest differences between the live action characters and the novel characters in MDZS? They are a lot, so I will love even the difference between few of them! I haven't seen the live action and I don't know if I will ever, but I am curious, considering all the meta. Anyway, thank you in general, even if you don't answer!

Hello anon! This has been in the inbox forever because there are soooo many ways to answer this! However, let me be transparent that I've watched maybe like 1/10 of CQL. Among other obstacles, I simply do not care that much about Lan Wangji and he's always there (even though Wang Yibo is giving it his all... it's not his fault I'm a hater...). Chewing through a book with Ms. Mxtx's commentary was just more enjoyable to me, and even then, to be honest, I still liked SVSSS better. (I just love Shen Yuan/Shen Qingqiu so much. That dude is wild.)

Still, the live action definitely affected how I understood certain characters (...primarily Nie Huaisang) and made me interested in relationships that I didn't pay any attention to in the novel. (I freely admit that the nieyao brainrot is 100% CQL's fault.) Also I found Wang Zhuocheng's Jiang Cheng very cute and loveable. It definitely contributed to my Jiang Cheng Brain Disease.

LISTEN. HE HAS BIG SAD EYES AND THE MEANEST SNEER AND HE MIGHT BURST INTO TEARS AT ANY TIME. HE IS A BABY. A baby who could kill you with his terrifying lightning whip! But a baby nonetheless, to me.

So if you want someone with a real and knowledgeable opinion on the live action, I'm probably not the right person for that! However, here's one difference that changed a bunch of stuff about the characters that I found compelling in the novel: the second flautist.

CQL adds Su She as a second flautist doing unorthodox cultivation in a couple of different places, including at Qiongqi Path, where he seizes control of Wen Ning and is therefore responsible for Jin Zixuan's death. Removing the responsibility for Jin Zixuan's death from Wei Wuxian creates a bunch of cascading character and relationship implications that I don't love.

Firstly, all of the people who cautioned Wei Wuxian against his unorthodox cultivation are now... wrong. If he never lost control, then actually his assessment that he could maintain control wasn't overconfidence, it was just true, and he was persecuted because the Jin needed a scapegoat and wanted the Yin Tiger Tally, not because his cultivation path actually involved significant risks and drawbacks. (To be fair, the Jins actively exploited those drawbacks, the public perception of his cultivation, and Wei Wuxian's failure to manage his reputation. But it matters whether the risks exist or are just made up.)

Secondly, removing his responsibility for Jin Zixuan's death transforms both Wei Wuxian's character and how we understand his relationships with Jiang Yanli, Jiang Cheng, and Jin Ling. Because, in the novel, he kills Jin Zixuan under duress but also after a lifetime of conflict with him. Like, he hates the dude, he doesn't think he's worthy of Jiang Yanli, and he's not willing to examine his hatred and resentment even though Jiang Yanli loves Jin Zixuan and wants to marry him, even after she marries him and has a child with him. (I would argue that a lot of the resentment is because of the eventual marriage; by marrying Jiang Yanli, Jin Zixuan becomes legally recognized family to the Jiang siblings, while Wei Wuxian's relationship with them has no social recognition; I think Wei Wuxian is deeply threatened by that but can't articulate it.) It's a huge failure! Like, dude, you loved someone and you killed that person's beloved spouse. That points to a certain degree of repressed jealousy, possessiveness, longing, arrogance, the list goes on... I am so compelled by that conflict, and the adaptation just erases it.

This also affects how we read Jin Ling's relationship with Wei Wuxian. In one scenario, a teenage Jin Ling is (eventually, minus one little stab) ending the cycle of violence by not seeking vengeance for his father's murder. In the other, it was actually someone associated with Jin Ling's paternal family that killed his father, and he's maybe just... coming to terms with that? One of these scenarios is so much richer and more interesting.

How it affects the relationship between Jiang Cheng and Wei Wuxian is a little more subtle. It locates the responsibility for a lot of the harm done to the Jiang siblings with the Jin sect, not with Wei Wuxian, removing some of Wei Wuxian's culpability in the devolution of his relationship with Jiang Cheng. If Wei Wuxian isn't guilty of wronging the Jiang family (and instead is also a victim of the Jin sect), then all of Jiang Cheng's rage and betrayal was misdirected. They were both tricked. In some ways, maybe that's easier to patch up after canon? (I wonder if this is why many CQL yunmeng shuangjie reconciliation fics have Jiang Cheng apologize to Wei Wuxian, but not the other way around?) But it's so much less interesting to me!

Finally, it removes Wei Wuxian's tragic flaw! Dude is legitimately a genius but he's got hubris coming out of his ears and it fucks him up big time! This is classic stuff. Please stop flattening my boy!!

[aroaessidhe]

2024 reads / storygraph

The Sword of Kaigen

standalone fantasy set in a rural mountain village at the edge of an empire that still holds traditional values, with families of powerful water/ice magic warriors

follows a powerful young heir who begins to question his beliefs about the empire when a new boy comes to his village from the city

and his mother, a housewife who has tried to forget her youth as a warrior and vigilante in the city since she moved back home to a loveless marriage

when there’s a violent attack on their village that they’re unprepared for, everything changes, and she has to embrace her old skills to protect her family and people

[shorthaltsjester]

taliesin and laura remain truly so fantastic at making characters who… don’t necessarily have something extremely and inherently in common but do have experiences that were caused by similar sources and that lead them to have quite different opinions/ideas about things but in ways that are typically very reconcilable? which is a lot of qualifiers but it’s a through line of vex/percy with nobility, jester & cad with loneliness (and also god stuff but in a different post maybe someday i’ll talk about how actually their god stuff is intensely related to their different experiences of loneliness), and now imogen & ashton with being left behind.

like vex was this character who technically had a claim to nobility due to her blood but at the same time was burdened because of that same claim. and percy who was born into and raised by nobility but that nobility ended up making his family the targets of a massacre. and then vex who lets down her walls and Do I Look Like I Come From Money? and percy giving her the title grand mistress of the grey hunt because it has nothing to do with blood, or his love for her, or anything aside from the fact that it’s something she can prove herself worthy of simply by virtue of who she Is, not who someone makes her. and percy and vex’s conversation about forgiveness and it’s necessity for growth as probably two of the characters most inclined to hold grudges.

and caduceus clay who gets left behind with nothing but his Belief while his family goes off into the world. and jester lavorre who gets shut inside with no company except her Belief as her mother protects her from the world. and they both get the burden of loneliness and the understanding of love’s nonmalicious imperfection. and caduceus having a panic attack on a ship and jester telling him that the world is a lot bigger than his cemetery and that means he has to break out of his comfort zone to find his path. and caduceus telling jester that he doesn’t think she gets as much credit as she ought to and she deserves more pastries. and jester thanking caduceus for showing her how cool it is to actually heal people and caduceus asking if she wants to use his shield while he doesn’t need it.

and ashton who was left broken and dying on the ground and was given inescapable pain as their means of survival. and imogen who was left behind by the only person who could provide true understanding of the pain she’d one day come to feel. and ashton who’s a barbarian, who wields their rage casually and unapologetically and who sees the Shittiness of the world but is unrelenting in his version of optimism. and imogen who is weighed down by pessimism she doesn’t Want to have but hasn’t cracked how to undo and who doesn’t admit her anger until it comes up again and again and again and carries it like a burden or like guilt, who we only see really Grasp and feel Confidence about her anger being something good in front of others when she has those conversations with ashton. and like. ashton who looks at imogen and sees a superhero. imogen venturing through ashton’s mind and holding his bleeding and exhausted head and saying i’m sorry. i’m sorry. and imogen who looks at ashton and sees someone special. and fucking “we got him killed.” and “no, we didn’t. don’t you dare. […] we are not what fucking killed that man. […] we are his eventual victory. we are his fucking revenge.” and “i’ll be his revenge.” and “i have no fucking doubt.”

and in general rp wise they both tend to make some of my favourite characters (also typically the ones i find most frustrating) because they both tend to make flaws that are easy to hate and they make those flaws very central to their characters but i think that’s also what makes their character interactions so deeply compelling because so frequently it’s like. yes yes these two characters have like. a helix of things they have in common but also things they deeply disagree on but they’re going to spider-man point at the things that are the same and they’re going to honour their differences while doing so. and it’s just. i always enjoy it so much and i was psyched when i heard about an imogen and ashton side pit stop in last nights episode and i was not let down when i watched the episode today.